Calligraphy
学校请假条iphone进水Calligraphy is understood in China as the art of writing a good hand with the brush or the study of the rules and techniques of this art. As such it is peculiar to China and the few countries influenced by ancient Chine culture.
In the history of Chine art, calligraphy has always been held in equal
importance to painting. Great attention is also paid today to its
development by holding exhibitions of ancient and contemporary works
and by organizing competitions among youngsters and people from
various walks of life. Sharing of experience in this field often makes a
feature in Sino-Japane cultural exchange.
Chine calligraphy, like the script itlf, began with the hieroglyphs and, over the long ages of evolution, has developed various styles and schools, constituting an important part of the heritage of national culture.
Classification
Chine scripts are generally divided into five categories:
The al character (zhuan), the official or clerical script (li), the regular
script (kai), the running hand (xing) and the cursive hand (cao).
1) The zhuan script or al character was the earliest form of writing after
the oracle inscriptions, which must have caud great inconvenience
becau they lacked uniformity and many characters were written in
variant forms. The first effort for the unification of writing, it is said, took
place during the reign of King Xuan (827-782 B. C.) of the Western Zhou古英语
Dynasty, when his taishi (grand historian) Shi Zhou compiled a lexicon of
15 chapters, standardizing Chine writing under script called zhuan. It is
also known as zhouwen after the name of the author. This script, often
ud in als, is translated into English as the al character, or as the
"curly script" after the shape of its strokes.
Shi Zhou's lexicon (which some thought was written by a later author of the state of Qin) had long been lost, yet it is generally agreed that the inscriptions on the drum-shaped Qin stone blocks were basically of the same style as the old zhuan script.
When, in 221 B. C., Emperor Qin Shi Huang unified the whole of China under one central government, he ordered his Prime Minister Li Si to collect and sort out all the different systems of writing hitherto prevalent in different parts of the country in a great effort to unify the written language under one
公司的组织机构system. What Li did, in effect, was to simplify the ancient zhuan (small al) script.
Today we have a most valuable relic of this ancient writing in the creator Li Si's own hand engraved on a stele standing in the Temple to the God of Taishan Mountain in Shandong Province. The
绿怎么拼音2,200-year-old stele, worn by age and weather, has only nine and a half characters left on it.
2) The lishu (official script) came in the wake of the xiaozhuan in the same short-lived Qin Dynasty (221 - 207 B. C.). This was becau the xiaozhuan, though a simplified form of script, was still too complicated for the scribes in the various government offices who had to copy an increasing amount of documents. Cheng Miao, a prison warden, made a further simplification of the xiaozhuan, changing the curly strokes into straight and angular ones and thus making writing much easier. A further step away from the pictographs, it was named lishu becau li in classical Chine meant "clerk" or "scribe". Another version says that Cheng Miao, becau of certain offence, became a prisoner and slave himlf; as the ancients also called bound slaves "li", so the script was named lishu or the "script of a slave".
3) The lishu was already very clo to, and led to the adoption of, kaishu, regular script. The oldest existing example of this dates from the Wei (220-265), and the script developed under the Jin
(265-420). The standard writing today is square in form, non-cursive and architectural in style. The characters are compod of a number of strokes out of a total of eight kinds-the dot, the horizontal, the vertical, the hook, the rising, the left-falling (short and long) and the right-falling strokes. Any aspirant for the status of calligrapher must start by learning to write a good hand in kaishu.
4) On the basis of lishu also evolved caoshu (grass writing or cursive hand), which is rapid and ud for making quick but rough copies. This style is subdivided into two schools: zhangcao and jincao.
The first of the emerged at the time the Qin was replaced by the Han Dynasty between the 3rd and 2nd centuries B. C. The characters, though written rapidly, still stand parate one from another and the dots are not linked up with other strokes.
Jincao or the modern cursive hand is said to have been developed by Zhang Zhi (?-c. 192 A. D.) of the Eastern Han Dynasty, flourished in the Jin and Tang dynasties and is still widely popular today.
It is the esnce of the caoshu, especially jincao, that the characters are executed swiftly with the strokes running together. The characters are often joined up, with the last stroke of the first merging into the initial stroke of the next. They also vary in size in the same piece of writing, all emingly dictated by the whims of the writer.
A great master at caoshu was Zhang Xu (early 8th century) of the Tang Dynasty, noted for the complete abandon with which he applied the brush. It is said that he would not t about writing until he had got drunk. This he did, allowing the brush to "gallop" across the paper, curling, twisting or
meandering in one unbroken stroke, thus creating an original style. Today one may still e fragments of a stele carved with characters in his handwriting, kept in the Provincial Muum of Shaanxi.
The best example and model for xingshu, all Chine calligraphers will agree, is the Inscription on Lanting Pavilion in the hand of Wang Xizhi (321-379) of the Eastern Jin Dynasty. To learn to write a nice hand in Chine calligraphy, assiduous and pervering practice is necessary. This has been borne out by the many great masters China has produced. Wang Xizhi, the great artist just mentioned, who has exerted a profound influence on, and has been held in high esteem by, calligraphers and scholars throughout history, is said to have blackened in his childhood all the water of a pond in front of his hou by washing the writing implements in it after his daily exercis. Another master, Monk Zhiyong of the Sui Dynasty (581-618) was so industrious in learning calligraphy that he filled many jars with worn-out writing brushes, which he buried in a "tomb of brushes".
Renewed interest in brush-writing has been kindled today among the pupils in China, some of whom already show promis as worthy successors to the ancient masters.
Four Treasures of the Study
To produce Chine characters one will need a brush, paper, ink米汤有营养吗
stick and ink stone, commonly referred to as the "Four Treasures of
the Study". To learn calligraphy, it is necessary to learn about the
tools.
多肉可以水培吗While brushes are varied, white-goat-hair, black-rabbit-hair and yellow-weal-hair brushes are the main ones. On the basis of function, brushes are classified into three groups: hard, soft and both. Brush handles are usually made of bamboo, wood, lacquer or porcelain; ivory or jade handles are rare and precious.
The ink stick is a unique pigment ud for Chine traditional painting and calligraphy. The most famous ink stick ishui mo(Anhui ink stick), made of pines that grow on Huangshan Mountain in Anhui Province. Clean water is needed to grind the ink stick, which must be balanced in the hand during the grinding or rubbing process. Press hard and rub lightly, slowly and evenly against the ink slab until a thick, liquid-ink forms.
Paper was invented by Cai Lun in the Eastern Han Dynasty (25-220). While paper comes in many v
arieties, Xuan paper, produced in the Jing Prefecture of Xuanzhou (today's Anhui Province), is considered the best for Chine calligraphy. The paper is soft and fine textured, suitable for conveying the artistic expression of both Chine calligraphy and painting. With a good tensile strength and mothproof quality, the paper can be prerved for a long time.
Ink stones or ink slabs have been classified into three categories:Duan,SheandTao. Features common to all three ink slabs are the stone's hardness and fineness. Although the stone is hard and fine, it is not
dry or slippery. Using a hard, smooth stone, liquid ink can be produced easily by rubbing the ink stick against the stone.
By controlling the flexibility of the brush, the concentration of the ink and the absorbency of the paper, the artist can produce an infinite variety of calligraphic styles and forms.
Calligraphy: Leader of All Art Forms
Few nations in the world have calligraphy as a form of art. In China, calligraphy has maintained a clo rapport with the country's cultural development.
营销思路
Calligraphy is an expressive art. According to an old Chine saying, "the way characters are written is a portrait of the person who writes them." Expressing the abstract beauty of lines and rhythms, calligraphy is a reflection of a person's emotions, moral integrity, character, educational level, accomplishments in lf-cultivation, intellectual tastes and approach to life. Chine characters, which convey ideas, are regarded as the most abstract and sublime art form.
Calligraphy is also a practical fine art. Exotic calligraphic inscriptions written on paper, wooden plaques or stone tablets rve as decorations of a deep artistic value.
Calligraphy manifests the basic characteristics of all Chine arts. Cloly associated with paintings -- the two leaders of Chine art forms -- calligraphy takes precedence over painting since it greatly inspired the art of painting. Moreover, calligraphy has influenced other typically Chine art forms like classical poetry, al-cutting, sculpture, traditional music and dance, architecture and handicrafts.
Calligraphy is a mental exerci that coordinates the mind and body. It is a most relaxing yet highly disciplined exerci for physical and spiritual well-being. Historically, many calligraphic artists lived to a ripe, old age.
An Art of the Orient
Chine calligraphy is an Oriental art. Like chopsticks, calligraphy was once entirely Chine, but as Chine culture spread to Korea, Japan, and Singapore, calligraphy became a unique feature of the Oriental art.
Calligraphy is even wildly accepted by the West; as once Picasso said, "Had I been born Chine, I would have been a calligrapher, not a painter." Many calligraphic elements are being adopted by modern western art.
